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  LISZT: ANNEES DE PELERINAGE TROISIEM ANNEE

  HYPERION · Feb 2019

  1 disc

  CD

  $18.33

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Auber: Overtures, Vol. 9
Naxos
CD · 1 disc
$19.99 Aug 14, 2026
Daniel-Francois-Esprit Auber was one of the most successful opera composers of the 19th century. His overtures were favourites of the light Classical repertoire with gracious melodies and dance rhythms that were hugely influential on the genre of Romantic comic opera, especially in Germany. The unexpected complexities of Le Domino noir result in Auber's most subtle and refined overture, while the often vivacious and joyful music in Gustave III, ou Le Bal masque corresponds to the expectations of the grand-opera tradition. All of these contrast with a closing Marche funebre composed to accompany the interment of Napoleon's ashes in the church of Les Invalides.
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  Auber: Overtures, Vol. 9

  Naxos · Aug 2026

  1 disc

  CD

  $19.99

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  Mix & Match

DECOY
MUSIC ON VINYL
Vinyl · 1 disc
$38.99 Jul 26, 2024
Limited edition of 2000 numbered copies on smokey coloured 180-gram audiophile vinyl. Decoy is a 1984 album by the famous jazz musician Miles Davis, re- corded in 1983. Robert Irving III on keyboards took over the role that Miles had assumed with a true sense of harmony and only a rudi- mentary mastery of synthetic sounds and movements. Irving shared the responsibilities of directing with the trumpet player's nephew Vince Wilburn, Jr., but Al Foster continued to lead the tempo. John Scofield drew the funk of bassist Darryl Jones in the direction of chromatic abstraction. The two tracks that he cowrote with Miles are fragments of solos, "That's What Happened" reprising the beginning of his solo on "Speak" (Star People). Decoy offered a good balance between the dominant funk that sub- sequently took over and the jazz tradition, reflected by Scofield's angularities, Marsalis' freedom of tone, and the breadth of Miles' playing that had recovered it's full power.
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  DECOY

  MUSIC ON VINYL · Jul 2024

  1 disc

  Vinyl

  $38.99

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LION DANCE
SUNNYSIDE
CD · 1 disc
$16.63 Nov 01, 2024
Like Matt Slocum's six previous albums, Lion Dance is a work of high distinction. On his first investigation of the tenor saxophone-bass-drumset trio format, in the company of world-class practitioners Walter Smith III and Larry Grenadier, Slocum - less widely known than his bandmates - operates fully as a peer, surefootedly navigating them through five original pieces whose subtle challenges enhance freedom of expression, and three Jazz and American Songbook standards addressed more or less straight-no-chaser. The end result can stand in the same conversation as equilateral triangle oriented recordings by such 21st century avatars of the genre as Fly Trio, a long-standing unit with Grenadier, Mark Turner, and Jeff Ballard; Smith's own "TWIO" outing with bassist Harish Raghavan and Eric Harland; the Bill Stewart Trio with Grenadier and Smith; and the Kendrick Scott Trio with Smith and Reuben Rogers. One reason, Walter Smith suggests, is Slocum's thematic focus, his ability to shape, sculpt, and refine the beats and drumkit tonalities to ensemble imperatives in the heat of the moment. "It seems to me that Matt usually thinks about how things will build," says Smith, who makes his fourth appearance on a Slocum-led project. They've been friends and musical collaborators since both were young aspirants in Los Angeles during the mid-'00s. At the time, Slocum, who'd earned a scholarship to the jazz program at the University of Southern California, was studying with Peter Erskine, and gigging with luminaries-to-be like Gerald Clayton, Massimo Biolcati, Dayna Stephens, and Taylor Eigsti, all participants on his earlier records. "Different sections have a different feel, a specific beat, but it's more the song's overall arc, the shape of the music, than the details of what chord or melody note goes here or there," Smith adds. "Matt has the overall picture in view, which is the mark of a good bandleader, because you don't get deeply into the weeds." "Gerald initially told me about Matt," says Grenadier, who played with Clayton and Slocum on the 2019 release Sanctuary, and on the critically acclaimed With Love and Sadness (2022), in quartet with Smith and Eigsti. "He gets a great sound on the drums, and he knows how to tune them and complement the other instruments. His compositions leave you a lot of space, less complex than the current generation of jazz writing, more like the classic writers of the 20th century - one-page charts, for the most part." "Matt is melodically driven; he writes stuff that's singable and makes sense and hooks you," adds producer Jerome Sabbagh, who has led six of his own tenor-bass-drum trios as of this writing. "I'd describe his sound as intentional and very balanced. James Farber, the engineer, who places a mic on every single part of the drumkit, told me that Matt's thorough conception made it easy - James didn't have to do much else than capture what Matt was doing." In Slocum's view, the harmonic possibilities of the sax trio environment "decomplexified" the writing process. In the months leading up to the December 2023 session, he worked out repertoire with Smith and Grenadier, eliciting their input on "what would work, what wouldn't work, and what would work if it had revisions, so we could zero in on what the material would be." That's one reason why the proceedings transpired at such a synchronous level of inspiration after one rehearsal, with all members recording in the same room, direct-to-two-track analog tape, eliminating the safety net provided when punch-ins or solo redos are possible. "I've always wanted to do a sax trio record," Slocum says. "I feel it's a benchmark for drummers - for saxophonists, too. -excerpts from the liner notes by Ted Panken.
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  LION DANCE

  SUNNYSIDE · Nov 2024

  1 disc

  CD

  $16.63

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LIVE AT SWEET BASIL
SAVANT
CD · 1 disc
$16.63 Feb 13, 2001
Some cats just seem to fall out of bed swinging, full of fire & forever seeking those flames - call them the good groove merchants, and make sure you include drummer Cecil in this exclusive coterie. The five extended selections on this record are an apt reflection of an ebullient leader, a collection of skillful players & comfort of place, featuring hard-hitting pianist John Hicks & smokin' sax man Don Braden playing before a full house at New York's famed jazz venue Sweet Basil
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  LIVE AT SWEET BASIL

  SAVANT · Feb 2001

  1 disc

  CD

  $16.63

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Carlos Acosta – Dances Royal Ballet Classics [blu-ray]
Opus Arte
Blu-Ray · 3 discs
$52.99 Sep 25, 2015
This Blu-ray Disc is only playable on Blu-ray Disc players and not compatible with standard DVD players.

Also available on standard DVD

So memorably described as ‘a dancer who slashes across space faster than anyone else, who lacerates the air with shapes so clear and sharp they seem to throw off sparks’ (Independent), Carlos Acosta has been at the forefront of contemporary ballet since his arrival at the Royal Ballet in 1998. Here he sparkles in three of his most celebrated roles: the young lover Colas in the joyfully bucolic La Fille mal gardée, which received five stars from the Guardian, Times and Mail on Sunday; the innocent but doomed Romeo in Prokofiev’s sumptuously-scored adaptation of Shakespeare’s famous play; and, acting as producer and choreographer for the first time, as Basilio in Don Quixote, a production that wowed audiences thanks to its ‘intelligent’ choreography and Acosta’s ‘titanic determination, bullet-proof charisma [and] delectably trusting and playful rapport’ with co-star Marianela Núñez (Daily Telegraph). These three compelling ballets showcase Carlos Acosta’s world-class reputation as a dancer and choreographer, bolstered by outstanding co-stars and artists of the Royal Ballet. Filmed in High Definition and recorded in true Surround Sound.

CARLOS ACOSTA – Dances Royal Ballet Classics
(3 Blu-ray Disc Box Set)

Ferdinand Hérold
LA FILLE MAL GARDÉE

Lise - Marianela Nuñez
Colas - Carlos Acosta
Widow Simone - William Tuckett
Alain - Jonathan Howells

Royal Ballet
Royal Opera House Orchestra
Anthony Twiner, conductor

Frederick Ashton, choreographer
Osbert Lancaster, set designer

Sergey Prokofiev
ROMEO AND JULIET

Romeo - Carlos Acosta
Juliet - Tamara Rojo
Mercutio - José Martin
Tybalt - Thiago Soares
Nurse - Sandra Conley
Lord Capulet - Christopher Saunders
Lady Capulet - Elizabeth McGorian
Paris - David Pickering
Benvolio - Yohei Sasaki
Royal Ballet
Royal Ballet Sinfonia
Boris Gruzin, conductor

Kenneth MacMillan, choreographer
Nicholas Georgiadis, costume designer
John B. Read, lighting designer

Ludwig Minkus
DON QUIXOTE

Kitri - Marianela Nuñez
Basilio - Carlos Acosta
Don Quixote - Christopher Saunders
Sancho Panza - Philip Mosley
Lorenzo - Gary Avis
Gamache - Bennet Gartside
Espada - Ryoichi Hirano
Mercedes - Laura Morera

Royal Ballet
Royal Opera House Orchestra
Martin Yates, conductor

Carlos Acosta, choreographer (after M
arius Petipa)
Tim Hatley, set and costume designer Hugh Vanstone, lighting designer

Recorded live at the Royal Opera House, 2 February 2005 (La fille mal gardée), 2007 (Romeo and Juliet) and October 2013 (Don Quixote)

Bonus:
- Cast gallery and illustrated synopsis (La fille mal gardée)
- Interviews with cast and crew (Don Quixote)
- Introductions to Acts II and III (Don Quixote)

Picture format: 1080i High Definition
Sound format: LPCM 2.0 (all) / DTS-HD Master Audio 5.1 (Romeo and Juliet, Don Quixote) / Dolby Digital 5.1 (La fille mal gardée)
Region code: 0 (worldwide)
Menu language: English
Subtitles: French, German, Spanish, Italian (La fille mal gardée)
Running time: 6 hrs 15 mins (ballet) + 12 mins (bonus)
No. of Discs: 3 (BD 50)

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  Carlos Acosta – Dances Royal Ballet Classics [blu-ray]

  Opus Arte · Sep 2015

  3 discs

  Blu-Ray

  $52.99

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  V3: TABULATURA NOVA

  MDG · Jun 2015

  2 discs

  CD

  $37.99

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  DOUBLE EXPOSURE

  SAVANT · Feb 2006

  1 disc

  CD

  $16.63

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1. 
2. 
Telemann: Trietti And Scherzi / Parnassi Musici
CPO
CD · 1 disc
$18.99 Feb 24, 2009


TELEMANN Trietti metodichi: 42:d1; TWV 42: G2; 42:D2. Scherzi: 42:D3; 42:A1; 42:E1. Quartet in a for 2 Violins and 2 Bassoons, TWV 43:a1. Quartet in d for Flute, Violin, Bassoon, and Continuo, TWV 43:d3 • Parnassi musici (period instruments) • cpo 777 301 (63:21)


The title of Telemann’s 1731 publication of six trio sonatas, III Trietti metodichi e III Scherzi , is unusual. No one had ever published trietti (“little trios”), nor was the term “scherzo” used for a composition in several movements. The “method” in the Trietti metodichi consists of illustration in the art of instrumentation. The slow movements of the three Trietti were published with plain and ornamented parts to illustrate ornamentation method. These six melodic works for two violins and continuo were written for amateurs looking for works that were neither too long nor too difficult. All are in three movements, fast-slow-fast, and full of attractive melodies.


The Quartet in a is the fifth of a set of six “Quartets or Trios for two flutes or two violins, and two cellos or two bassoons” published in 1733. It consists of four movements, an Andante followed by three fast Divertimenti. The Quartet in d has been attributed to Handel as well as Telemann. The theme of the first movement appears to be a variation on Handel’s Oboe Concerto No. 3 in g, HWV 287. For the rest, the music does not sound much like Handel’s chamber music, so it would appear that the association with Telemann is correct. It is in four movements, slow-fast-slow-fast, which, while appealing, are not as attractive as its discmates.


The notes to this recording tell us that “it was sheer joy in the vibrancy and virtuosity of baroque music that brought together the musicians of Parnassi musici,” and these qualities inform their work here. Their playing has been praised often in the pages of Fanfare . The continuo is varied by alternate use of archlute or guitar and organ or harpsichord in addition to bassoon and cello. I doubt that I have ever heard a more-appealing recording of Baroque chamber music.


FANFARE: Ron Salemi

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  Telemann: Trietti And Scherzi / Parnassi Musici

  CPO · Feb 2009

  1 disc

  CD

  $18.99

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MR LUCKY
DELMARK
CD · 1 disc
$15.70 Aug 27, 2002
Drummer Al Green played his first job with Willie Dixon in 1955. He has played with Eddie Harris, Wes Montgomery and Nancy Wilson. Co-leader, alto saxophonist Othello Anderson has played with Joe Diorio and at the Downbeat Jazz Festival. Other members are trumpeter Dr. Odies Williams III who appears on Delmark CDs with Jodie Christian, Ed Petersen and Cecil Payne. Bassist John Whitfield recorded on Delmark with Jodie Christian and Malachi Thompson. And pianist Leandro Lopez Varady has worked with Eldee Young and has toured extensively. This is straight ahead bebop in the style of Art Blakey or Max Roach/Clifford Brown groups.
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  MR LUCKY

  DELMARK · Aug 2002

  1 disc

  CD

  $15.70

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LOVABYE
CRISS CROSS
CD · 1 disc
$20.21 May 31, 2024
Lovabye follows Groover's formidable first full-length album, Negro Spiritual Songbook, Vol. 2 (The Message), performed by his excellent Boston band in quartet or quintet configurations, contains Groover's arrangements of, as he then wrote, "Black America's praise music through jazz's evolving language to produce a radical theology that connects you to a higher power, ". Recorded in August 2019, it was released two years later, as society unwound from the Covid-19 pandemic. During the lockdown, Groover had generated a group of "love songs and songs of people I love." In spring 2023, he brought this music to Walter Smith III, who Groover had idolized as a teenager, and is now his friend and colleague at Berklee School of Music, their mutual alma mater, where Groover serves as Assistant Chair of the Ensemble Department. "I told Walter I'd like to play with some of my other heroes and peers, " Groover recalls. "He said, 'What's stopping you? The music is there.' Luckily for me, everyone who I wanted to record with was available and happy to do it." The Album was recorded August 16, 2023 at the GSI Studios, NYC. Producer Walter Smith III. Recording engineer Chris Allen. Sound engineer Mike Marciano did the mixing and mastering at Systems Two in NYC. Photography by Saito Ogata.
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  LOVABYE

  CRISS CROSS · May 2024

  1 disc

  CD

  $20.21

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1. 
2. 
Christmas At America's First Cathedral
Gothic
CD · 1 disc
$18.99 Sep 28, 2010
In addition to familiar seasonal music by Mendelssohn, Handel, Rutter, and others, Christmas at America’s First Cathedral features music from South Africa, Canada, and the United States, including the premiere recordings of seven new works by two of America’s most important African American composers, Dr. Rosephanye Powell and Dr. James Lee III. Dr. Lee’s motet, "A Clean Heart" is from a collection of four motets composed in 2009. The six selections by Dr. Powell comprise a suite called, Christmas Give, commissioned by Baltimore Choral Arts and given its world premiere December 1, 2009 at the Baltimore Basilica. - Gothic Records
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  Christmas At America's First Cathedral

  Gothic · Sep 2010

  1 disc

  CD

  $18.99

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VOLUME II - BLUE
RVNG INT'L
Vinyl · 1 disc
$27.99 Oct 21, 2022
Following the compass of an entrancing debut, Flore Laurentienne's Volume II presents another palette of rich orchestral sound, where changing forces of water inspire metaphorical markers that navigate passages of life and loss. Mathieu David Gagnon resumes his voyage into environment and emotion with Volume II, drawing inspiration from the rivers and rugged wilderness of the composer's native Quebec. In his return as Flore Laurentienne - the namesake of an inventory documenting St. Lawrence Valley flora - Gagnon assembles vivid melodic motifs and delicate modulation with a vast string ensemble to emulate the tides of human experience. Listeners of Volume I will recognise Gagnon's signature approach towards reworking and reframing an emblematic melody or concept across a series of works in Volume II, a process he likens to that of a painter creating multiple sketches of the same view. Continued from the first album, the enigmatic "Fleuve" series is conjured to evoke the multiple personalities of the great St. Lawrence River, and the "Navigation" works ("III" and "IV") wade through dappled progressions and expansive streams of string, the latter of which harbors the gentle meanderings of improvised clarinet. In the world of Flore Laurentienne, complexity emerges from simplicity as the composer roams familiar environments in constant flux. Gagnon extracts beauty through repetition and constraint, utilizing the writing style of counterpoint for which one of his greatest musical inspirations, Johann Sebastian Bach, is renowned. The lilting waves of "Canon" possess the eponymous formation of melodic 'leader and follower' motif, and magnify the softness of the album's eighteen string musicians into a force of full euphoric resonance. In Volume II, Gagnon continues his expansion of classical composition archetypes to meet a new realm of sonic romanticism. Thematic conventions of wandering the pastoral sublime become altered into glimmering refractions, relaying the emotional and kinetic power of natural energies. Volume II forms an estuary where streams of auditory microcosm reach a horizon of dynamic contrast, and reflect the parallel tenors of nature and humankind. Flore Laurentienne's Volume II will be released October 21, 2022 via RVNG Intl. And Costume Records. A portion of the proceeds from the album will again benefit The Saint-Laurent Action Fund, which promotes the conservation of ecosystems and the maintenance of uses of the St. Lawrence River and it's Gulf by supporting projects for the preservation, enhancement and rehabilitation of the river, as well as projects for education and awareness of issues of the St. Lawrence River.
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  VOLUME II - BLUE

  RVNG INT'L · Oct 2022

  1 disc

  Vinyl

  $27.99

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1. 
2. 
Mahler: Symphony No. 3; Debussy: La Mer / Mitropoulos, Cologne Rso
ICA Classics
CD · 2 discs
$26.99 May 31, 2011
The first official release of Mitropoulos’s mighty vision of Mahler’s Third.

This release is an extremely important one for admirers of Dimitri Mitropoulos. It contains, released officially for the first time, his only recording of the complete Mahler Third Symphony. There is another recording, made in New York in 1956 and that has just reappeared in a fascinating boxed set of Mahler performances by this conductor - reviewed by me recently. Unfortunately, that New York reading is compromised by cuts in the first and last movements and by some eccentrically fast speeds. As I said in commenting on that box, the New York performance shouldn’t be dismissed out of hand; however this Cologne performance surely gives us the best representation of Mitropoulos’s view of the symphony.

The Cologne performance is notable in several ways, one of which is the overall distinction of the interpretation. In addition it is the conductor’s very last performance: just two days later, while rehearsing the same symphony in Milan, Mitropoulos collapsed, felled by a massive heart attack, and died. But, it seems, we are even more fortunate to have this recording because, incredible though it seems, according to Michael Schwalb’s booklet note, the conductor actually suffered a heart attack during the performance of the first movement. There was a scheduled interval after that movement and Mitropoulos insisted on returning to the podium and completing the concert. This was news to me: in his authoritative biography, Priest of Music. The life of Dimitri Mitropoulos (1995) William R Trotter merely states that the conductor’s “physical state was so alarming” at the interval that he was begged to curtail the performance. If Mr Schwalb’s account is accurate it is truly amazing that a conductor could direct such a full-on performance of so taxing and lengthy a work under such circumstances.

No allowances need be made for Mitropoulos’s health when you listen to this performance for it carries all the hallmarks of his conducting, not least the intensity and energy that invariably marked his music making. William Trotter asserts that this Cologne performance is “much superior” to the New York reading. I’m not sure I entirely agree. There are flaws in the playing on both recordings – after all, these are both live readings – but it seems to me that the Cologne orchestra, though they give of their considerable best for Mitropoulos, can’t quite match the overall standard of the New Yorkers. That said, no one buying this set is going to feel seriously short changed by the quality of the playing, I think one can forgive fluffs and the inevitable technical shortcomings of a radio recording made over fifty years ago, when confronted by an interpretation of such intensity and one in which the conductor so evidently believes in the score.

One notices the greater sense of space in the Cologne performance right at the start where I calculate the beat in the great horn call at about 102 beats per minute – by contrast, the New York performance is at about 122 beats per minute. This sets the tone for a really gripping reading of the great first movement. One might quibble with the odd interpretative detail here and there but overall the vision that Mitropoulos has of the music is powerfully conveyed. I’d describe quite a lot of the music as sturdy in Mitropoulos’s hands – there’s never quite the hedonistic rush that one gets at times in Bernstein’s 1961 New York recording, still one of my favourites. But I found myself thoroughly convinced.

Though the many dramatic passages in the first movement make the full effect that you’d expect with this conductor he’s good too in the more delicate passages. In the second movement, where delicacy is called for to a much greater extent, I felt there were too many instances where the tempo either surges a little or is slowed momentarily. The effect is fussy and it rather marred my enjoyment. Much of III has a good, earthy feel but I was rather disappointed by the treatment of the nostalgic post horn passages, where I didn’t feel Mitropoulos gave the music sufficient space; these episodes sound rather perfunctory, almost as if the conductor found them embarrassing.

Lucretia West is a rich-toned, expressive soloist in IV. However, the exposed quiet passages for the brass find the players a little bit over-exposed. I felt that V was rather serious in tone, though the music is lively enough. I missed a touch of lightness but this may not be a problem for other listeners. ICA get something of a black mark for the layout of the discs, I’m afraid. The last three movements should follow each other seamlessly but, instead, you have to change discs for the finale. It would have been perfectly possible to have had La Mer and the first movement of the symphony on disc one with the remaining five movements of the symphony comfortably accommodated on disc two. The way the symphony is split by ICA is nothing short of crass.

Actually, the reading of the finale is the big disappointment for me. In the first place it starts off far too loud – mf, I’d guess. The start of the finale in the New York reading is much more subdued. The last time I heard this music was in a live performance at the Three Choirs Festival just a few days before auditioning this disc. There Susanna Mälkki and the Philharmonia achieved just the hushed intensity that this present performance lacks. In addition the tempo is too swift. I calculate that Mitropoulos takes the opening at about 56 beats per minute. Actually, that’s not much swifter than the pace in New York in 1956 – ca 51 bpm – but it feels fast. As the movement unfolds one feels there’s not quite the same gravity and mystery that one experiences in the very best accounts. And, for my money, the Cologne players, though they play well, aren’t in the same league as the New York Philharmonic or several other orchestras that have featured in recordings of this symphony. The booklet notes reveal that around this time Mitropoulos had agreed in principle to become chief conductor of this orchestra and one wonders how much he might have improved them, given time to work with them on an extended basis, if that appointment had ever come about.

So this account of the finale of the Third isn’t as spacious as I’d like. One might call the reading urgent – or, perhaps apply Tony Duggan’s description, elsewhere, of this conductor’s ‘edgy’ style.

This, then, is a flawed reading of Mahler’s Third but it’s still one that commands – nay, demands – attention for throughout the ninety-five minute span of the piece one constantly has the sense of a great conductor at work and nothing about this reading is routine.

The reading of La Mer is somewhat unconventional in that you will look in vain here for washes of impressionist colouring or for Mediterranean warmth. This is a taut, urgent and dramatic reading. Sometimes, as in the short, quicker passage in ‘De l’aube à midi sur la mer’ (from 4:22), the very urgency of Mitropoulos’s interpretation seems to have the orchestra audibly scrambling to keep up. At times, the end of this same movement being one example, the sound is rather fierce. In ‘Dialogue du vent et de la mer’ one feels that the wind blows rather fiercely and it’s something of a chill wind. Often, during the piece as a whole, one senses that the sea which Mitropoulos is depicting is pretty foam flecked. None of the foregoing should be interpreted as an implicit verdict that the interpretation is an unsatisfactory one. I find it bracing but it may startle some listeners used to the approach of other conductors.

At the end of the second disc we hear a few short remarks made by Mitropoulos during a rehearsal with this orchestra sometime in the 1950s. He speaks in German so I can’t tell you what he says but it’s evident from the orchestra’s reaction both before and after he speaks that he was highly regarded by them.

The recorded sound can be a bit boxy at times and the balances aren’t always ideal – the percussion is too prominent on several occasions. However, these are fifty-year-old recordings so one must make allowances. They’ve been transferred pretty well and there’s nothing to mar ones appreciation of the performances.

This is an important set and I’m thrilled in particular that ICA have brought about the first official release of Mitropoulos’s mighty vision of Mahler’s Third. This is an essential appendix to the Music & Arts box of New York performances and all admirers of this great conductor should snap it up as a matter of urgency.

-- John Quinn, MusicWeb International

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  Mahler: Symphony No. 3; Debussy: La Mer / Mitropoulos, Cologne Rso

  ICA Classics · May 2011

  2 discs

  CD

  $26.99

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  V 3: EDITION GEZA ANDA SCHUM

  Audite Musikproduktion · Mar 2008

  2 discs

  CD

  $20.99

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TIME FOR DANCERS
HIGHNOTE
CD · 1 disc
$16.49 Jul 14, 2017
With this, his third outing as a leader on HighNote guitar master Russell Malone returns with his talented quartet, featuring the potent pianism of Rick Germanson, the solid underpinnings of Luke Sellick on bass, and drummer-extraordinaire Willie Jones III. Malone possesses phenomenal technique, a warm luminous tone, an innate sense of swing, and his distinctive chording. The set consists of a wide range of songs including funk, ballads, up-tempo hard bop performances and even a pop tune and a TV theme. Malone varies the instrumental textures and tone colors throughout to reveal his considerable inventive melodic art. This latest recording is further proof that Russell Malone is one of the top guitarists in jazz, here backed by his superb trio of masterful musicians.
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  TIME FOR DANCERS

  HIGHNOTE · Jul 2017

  1 disc

  CD

  $16.49

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ALTOICITY
SAVANT
CD · 1 disc
$16.63 May 23, 2000
Alto saxophonist is joined by his friend Russell Gunn on his latest hard-bop album, produced by drummer Cecil Brooks III; Bruce shows versatility with tunes like the bluesy "Elijah's Blues," the swinging Parker-esque "Three Crows On Guard" & the unique take on "You Are So Beautiful"
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  ALTOICITY

  SAVANT · May 2000

  1 disc

  CD

  $16.63

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HAINT
DELMARK
CD · 1 disc
$15.70 Mar 22, 1995
In a review of this 1994 recording "The saxophonist has honed his already formidable technique to a masterly pitch of intensity, capable of articulating an authentic, personal vision within the jazz tradition. On this session he meshes so closely with his comrades that the music seems like a collective product, with a strong leader on an equal footing with his gifted sidemen." - Down Beat 4 Stars. With Dr. Odies Williams III or (the recently passed) Billy Brimfield, trumpet; Willie Pickens, piano; Brian Sandstrom, bass; Robert Shy, drums. (Previously deleted:1/11/11. Original release date:3/22/95)
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  HAINT

  DELMARK · Mar 1995

  1 disc

  CD

  $15.70

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Elgar from the Archives, Vol. 3
SOMM Recordings
CD · 2 discs
$37.99 May 15, 2026
The third volume in the series Elgar from the Archives from SOMM Recordings includes two historic recordings conducted by Sir Adrian Boult: the oratorio The Kingdom, Op. 51 and the ever-popular Variations on an Original Theme 'Enigma,' Op. 36. These variations form an interesting comparison to the two acoustic versions from the well-received Vol 1 in this series [ARIADNE 5046], one conducted by the composer in 1920, the other by Sir Henry Wood in 1924. Again, these recordings are remastered by audio engineer Lani Spahr, whose work on Elgar from the Archives Vol 1 James Jolly, Editor in Chief of Gramophone Magazine, described as "astounding," adding that "thanks to Siva Oke's SOMM label, Spahr has an outlet for his truly revelatory work." Inspired by the remarks of one of his school teachers that the Apostles were poor men, young men, perhaps "no cleverer than some of you here," Elgar conceived the idea of a work depicting the Apostles as ordinary men reacting to extraordinary events. He envisioned a trilogy of oratorios consisting of The Apostles, Op. 49, The Kingdom, and an unrealized work, The Last Judgement. He made initial sketches for The Kingdom as early as 1882, when he was still serving as organist at St George's Church in Worcester. Following an orchestral Prelude, which introduces the main musical themes and sets the mood of the work, the oratorio is in five parts, each played without a break: I. In the Upper Room; II. At the Beautiful Gate; III. Pentecost; IV. The Sign of Healing; and V. The Upper Room. The Kingdom is written for four soloists, choir, and large orchestra-featuring, in this recording, Heather Harper, soprano (The Blessed Virgin); Helen Watts, contralto (Mary Magdalene); William Herbert, tenor (St. John); and Gordon Clinton, baritone (St. Peter), with the Croydon Philharmonic Society and BBC Symphony Orchestra conducted by Sir Adrian Boult. This programme on 29 May, 1957 at the Royal Festival Hall was part of the centenary celebrations for Elgar's birth. Boult admired The Kingdom above all the other major choral works of Elgar, and his complete understanding of and identification with the work is shown in his expert pacing and observation of dynamics. On 29th February, 1940, about ten weeks before Nazi forces invaded The Netherlands, Boult conducted the Amsterdam Concertgebouw Orchestra in a concert broadcast from Hilversum by the Dutch public broadcasting association. The program concluded with Elgar's Enigma Variations, the work that helped to establish Elgar's growing reputation internationally. In a programme note, Elgar wrote, "This work, commenced in a spirit of humour & continued in deep seriousness, contains sketches of the composer's friends." This Dutch performance is one of Boult's finest interpretations of the work, and it has more than stood the test of it's 86 years.
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  Elgar from the Archives, Vol. 3

  SOMM Recordings · May 2026

  2 discs

  CD

  $37.99

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Legends & Light: New Works for Large Ensemble / Vavrinek, Moravian Philharmonic
Navona
CD · 1 disc
$16.99 Oct 12, 2018
PARMA Recordings presents Legends & Light, a compilation album featuring works by composers Hans Bakker, Jan Järvlepp, Clive Muncaster, and Shirley Mier. Each has a different, unique story to tell, and the narratives are brought to life by the orchestra and string ensemble. Hans Bakker showcases his ‘Canzona III: Hidden in Her Light’ in ternary form. Described by the composer as a “hymn to the sun,” this tone poem is reminiscent of the symphonic storytellings of such greats as Tchaikovsky and Rimsky-Korsakov — with a heritage of folk melodies and rhythms to boot. The extraordinary balance between strings, woodwinds, brass, and percussion is expressed so fluidly, yet individually, the listener is immediately enveloped into the epic saga Bakker is telling. Jan Järvlepp expresses his unique composition style in Suite for Strings. In this incredible pedagogical work, Järvlepp brings the listener through a gamut of emotions. Clive Muncaster’s Redcliffe Gardens Suite for Strings follows suit perfectly with a romantic “Petronella,” enormously expressive in every way. “Pastorella” takes it down a notch, toeing the line between major and minor, somewhat demonstrating the complexity of romantic love. But, obviously, love wins. “Stella” is the heroic ballad to profess it. “Fuga Romantica” layers the sweetness together using one of composition’s most complex forms. Shirley Mier’s Of Lakes and Legends, a programmatic work written for the Century Chamber Orchestra, closes the album. Each movement is set at White Bear Lake in Minnesota, the city where the Century College and the ensemble are located. This celebration of music is tinged with nostalgia, as it both recalls these concerts and reflects on the fact that they now exist only in time past. This, hands down, is contemporary composition at its best. This album has been perfectly curated to offer continuity in the listening experience. PARMA patrons, old and new, will find enormous satisfaction in this collection.
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  Legends & Light: New Works for Large Ensemble / Vavrinek, Moravian Philharmonic

  Navona · Oct 2018

  1 disc

  CD

  $16.99

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Tribute to Miyoshi
Linn Records
CD · 1 disc
$20.99 Sep 25, 2020
For her sixth Linn recording KUNIKO has chosen to pay a personal tribute to one of Japan's most celebrated post-war composers: Akira Miyoshi (1933-2013). Showcasing Miyoshi's marimba works from the last four decades of the twentieth century, this recording represents a reference collection commemorating the composer's significant contribution to this repertoire. Solo marimba works include the Conversation Suite, Torse III, Rippleand the unpublished Six Prelude Etudes, the last piece for marimba that Miyoshi composed. The inclusion of Miyoshi's Concerto for marimba and string ensemble inspired an exciting collaboration between KUNIKO and Scottish Ensemble. This recording offers a compelling exploration of the marimba's remarkable sound-world, highlighting sharper and more percussive characteristics than those heard on KUNIKO's critically acclaimed album, J.S. Bach: Solo Works for Marimba. Tribute to Miyoshiis an important addition to the wider percussion catalogue and enhances KUNIKO's celebrated discography.
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  Tribute to Miyoshi

  Linn Records · Sep 2020

  1 disc

  CD

  $20.99

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  Beethoven: Complete String Quartets, Vol. 3

  Intim Musik · Jun 1997

  1 disc

  CD

  $18.99

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  Berio: The Great Works for Voice

  Mode Records · Nov 1995

  1 disc

  CD

  $20.99

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LIFECYCLES VOLUMES 1 & 2 : NOW AND FOREVER MORE
STONER HILL RECORDS
CD · 2 discs
$22.49 Jan 27, 2023
LIFECYCLES Volumes 1 & 2 : Now! And Forever More Honoring Bobby Hutcherson - Brian Blade - Bobby Hutcherson (January 27, 1941 - August 15, 2016) has been an endless source of inspiration for Brian Blade and the LIFECYCLES band members. In honor of Bobby's memory, LIFECYCLES has chosen to record his NOW! Album in it's entirety, two songs from Bobby's collaborative history with Jackie McLean and Grachan Moncur III and five original compositions by this stunning septet. NOW! AND FOREVERMORE will be available on vinyl and digital formats through the label founded by Brian Blade, Stoner Hill Records and Press. Stoner Hill Records
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  LIFECYCLES VOLUMES 1 & 2 : NOW AND FOREVER MORE

  STONER HILL RECORDS · Jan 2023

  2 discs

  CD

  $22.49

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  LIVE AT SWEET BASIL 2

  SAVANT · May 2002

  1 disc

  CD

  $16.63

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